A Q&A with former Jawbox frontman J. Robbins
The Washington D.C. post-hardcore luminary talks about growth, change, reconciling his own voice
For more than three decades, J. Robbins has played a crucial role in the evolution of Washington D.C.'s hardcore and post-hardcore music scenes. Robbins first made his mark playing bass for '80s hardcore act Government Issue. In 1989, he formed Jawbox, a new group that carried the hardcore's brutal and introspective ethos into the '90s. The group released a handful of albums via independent staples Dischord Records and Desoto, followed by a short run with Atlantic Records. Over the years, Jawbox ushered post-hardcore toward a larger audience — the group's 1994 sleeper hit "Savory" even garnered MTV airplay.
Robbins' other bands, Burning Airlines, Channels, and most recently Office of Future Plans, have all furthered his musical legacy. He has also managed an equally prolific career as a producer, working on records with Clutch, the Dismemberment Plan, Jimmy Eat World, and more at his Magpie Cage recording studio. Earlier this year, Robbins played some dates under his name, along with friends and former bandmates Peter Moffett, Brooks Harlan, and Devin Ocampo, performing songs from his entire catalog. Now he’s doing it solo. Before appearing at 529 tonight (Sat., Oct. 29), Robbins took a few minutes to talk about his life in music, accepting his role as a frontman, and what the future may hold in store.
What can we expect to hear? Is the set about half new, half old?
The idea of the acoustic set is to play songs of which I can claim authorship, and which work in a solo acoustic arrangement. Though I love all the noise of a rock band, I don’t necessarily want to always be submerged in it. It feels fucking great to sing with an acoustic guitar and no amplification. Sadly, the members of Jawbox have discussed reunion ideas for several years, but so far it has never really come together, and I really missed playing some of those songs.
When the band was together, I tended to downplay the idea that I “wrote” any of those songs — I was scared to put myself out in front and say “this came from me.” I was also kind of scared to be too clearly understood — I used to downplay the singing and the lyrics, for example, and I was willfully obscure. I wrote only because there was a band; now I write songs for their own sake. I thought maybe some of those songs deserved to be revisited and approached in that way. In the time since Jawbox broke up, I sort of got more of a grip on what I was trying to do in writing songs, and I wanted to try to bring something to them that I couldn’t before. It was like unfinished business.
Most Burning Airlines songs don’t really translate that well, but I have been doing some. I also started covering the Government Issue song “World Caved In” earlier this year, just before John Stabb passed away, so I have been playing that too. Another great thing about playing solo acoustic is that I can learn a song the day of the show and just play it if I want to. I have been learning covers kind of on the spur of the moment and that is really fun.
You don’t really tour that much anymore, so why these sporadic dates now?
I love to travel and play music — I love that music can be the engine that takes me to any new place or experience — but I never want touring to be my “job” again, the way it was for Jawbox or Burning Airlines. A lot of what motivates me to do this sort of thing now is the idea of having special opportunities. I recorded and produced Daria’s most recent record, and they invited me to open for them on 10 dates in Europe this past February when they toured to support it. They’re good friends of mine and I had a fantastic time, so when they decided they wanted to come over and do some US dates, I thought it would be fun to reprise that tour over here. On this tour, I am like the third guitar utility guy for Daria, and then we can play some songs of mine too. Similarly, the dates I did with my own band back in May were a result of being invited to open a show for Bob Mould in Chicago. It became a catalyst for making and releasing music under my own name rather than in the context of some contrived band entity.
Any news regarding Office of Future Plans?
Office of Future Plans is done. It was initially formed to present and record some songs I had been working on by myself, but when Darren, Brooks, and Gordon got involved, I thought it had to be a band entity rather than my solo project — but working as more of a collective it never seemed to really get that much creative momentum. We had some great jams, but nothing that coalesced into real songs. Essentially, I am trapped in this mindset that if it’s “a band” it has to be all for one and one for all, whereas it’s different if I release music under my own name.
You were originally a reluctant vocalist in Jawbox, but you’ve done vocals in most of your other groups. Have you become more comfortable in that role?
I am not in love with my voice to say the least, but I love to sing and I kind of need to work out lyrics and melodies. To me, it feels pretty pointless to just write music on the guitar, knowing that there will be vocals but giving no thought to what they will do. The melodies are integral to what I hear when I think of songs and parts, so I don’t see going back from that. Though I have been doing a project with Jonah Matranga (Far, onelinedrawing) and Zach Barocas (Jawbox, BELLS≥) in which Jonah has been the main singer and melody writer, and I absolutely trust him to carry that role — it’s always a nice surprise to hear what he comes up with. And Channels has been practicing again, and I love it when Janet sings in that band — I hope she will be doing the majority of the singing in whatever we come up with going forward.
As you’ve gotten older and more experienced, do you find that there are different things/ideas that you want to pursue in your music?
I do really want to make some music that isn’t rock band/song music. In fact, I am dying to do music for films. But the big project for me is lyric writing — that’s something I want to work on more. Music can be literally anything — that’s part of what makes it fun. But it’s what you’re trying to communicate that is most important.
J. Robbins plays 529 tonight (Sat., Oct. 29), with the Purkinje Shift and Daria. $8. 9 p.m. 529, 529 Flat Shoals Ave. 404-228-6769. www.529atlanta.com.